Matthew Biederman
Matthew Biederman
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MATTHEW BIEDERMAN (QC - CA)

SERIAL MUTATIONS (Z-AXIS) v04

2014 - present

ELEKTRA GALLERY 

JUNE 10 - JUNE 19, 2021 Montreal, Canada

Opening - June 10, 2021

This artwork is part of ELEKTRA's collection

and will be visible from the gallery window. 

BIO - MATTHEW BIEDERMAN

Matthew Biederman works across media and milieus, architectures and systems, communities and continents since 1990. He creates works where light, space and sound reflect on the intricacies of perception. Since 2008 he is a co-founder of Arctic Perspective Initiative, with Marko Peljhan working on projects throughout the circumpolar region. He has served as artist-in-residence at a variety of institutions and institutes, including the Center for Experimental Television on numerous occasions, CMU’s CREATE lab, the Wave Farm and many more. His work has been featured at: Lyon Biennial, Istanbul Design Biennial, The Tokyo Museum of Photography, ELEKTRA, MUTEK, Montreal Biennial (CA), Biennial of Digital Art (CA), SCAPE Biennial (NZ) and the Moscow Biennial (RU), among many others. 

Biederman is currently represented by Art45 / Sedition (online) and lives and works in Montreal, Quebec. 

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Custom Generative Software, 4K LCD Screen, Computer

SERIAL MUTATIONS (Z-AXIS) v04, 2014 - present

Many of us arguably live in a world of screens, from our telephone to the ATM, and billboard advertising. When computer graphics are powerful enough that nearly any-thing can be visually simulated on a screen, where does media art find its critical foothold? For Serial Mutations, it is within the indeterminacy and the material of the screen itself. Rather than creating a realistic vision within the frame of the screen and screen space, Serial Mutations calls attention to the flatness of the screen itself. 

Using the Necker cube, Serial Mutations continually shifts between flat and spatial, but never fully resolving itself to one or the other. By manipulating color and transparency, even the flat images appear to have depth, and the images of the cube are in fact flat. The anamorphic trompe l’oeil techniques popular today is turned on its head bringing the viewer to confront their own understanding of the screen and its space. 

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